One of the interesting developments that arose during the research phase of writing What Are You Doing Here? (out now via Bazillion Points) was how many of the black men and women I interviewed or spoke with loved Pantera. While they might have not self-identified as a ‘metalhead’ they loved the band as the music had that sound: a bluesy groove that reminded them of the dusty vinyl records that their parents inherited from their parents, serving in some cases as a gateway into other bands and musical genres that incorporated the same southern sensibility.

Over the years I’ve tried and for the most part, failed in getting my friends into metal (a recent and not-so-wise example included playing “Buried With Leeches” from Dragged into Sunlight for my rocker homegirl who is taking drum lessons. The confused look she gave me was priceless). And I have to admit that because of their cultural background and based on the predilection to groove-oriented rhythms, I’ve felt that perhaps more Southern-bred, doomy / sludge bands might warm the cold, cockled hearts of my black non-metal loving bredren.

I would argue that while I also was a big Pantera fan, there are other bands that have more obvious comparisons to blues music: a more pronounced rhythm section including a muddled, down-tuned bass tone; the application of the blues chord progression, a simplification of music that concentrates more on emotional and a physical heaviness and less on technical proficiency and speed. And of course the more personalized (outside of the obvious drug references) lyrical content including harrowing stories about hard livin’ and lovin.’ As IO contributor Hank Shteamer has pointed out in his column, Heavy Metal Be-Bop, the musical techniques found in African-American-originated musical genres can often be found within metal music, and non-metal musicians can apply metal’s traditional sounds to their own.

However, another reason for the reluctance of my black brothers and sisters to temporarily veer into the dark side is the negative connotations that a lot of southern metal bands have of being not-so-racially tolerant. Even in writing this piece and looking for Weedeater’s sludgy version of “Gimme Back my Bullets” on YouTube led me to the original, live version by Lynyrd Skynyrd, who had a giant Confederate Flag backdrop, which is a firm part of their branding – along with a right wing-centric philosophy – but in 2012, at least one former member of the band reconsidered their love for the flag. I know that for some, any band that waves that flag during their live performances, especially post-2009, automatically gets the side-eye.

The confederate flag connotes an era that for some is a positive remembrance in their Southern background and in remembrance of the Civil War, and for others it is a not-so subtle reminder of a legacy filled with racial inequality and violence. Erika Kristen, an interviewee in What Are You Doing Here? and the co-founder of the metal website Fourteeng.net hung out with Dimebag Darrell shortly before his death. While cautiously observing the the large flag that he had placed in the backstage area after a show, he ended up one of the nicest musicians she had interviewed, assuaging any stories that she had previously heard about him.

Of more pressing concern for my friends is the crowd that gathers at these shows, which, from personal experience, tends to bring out the worst of humankind. While some artists, such as Down’s Phil Anslemo have taken great strides to remove themselves from previous racialized or misogynist comments, there are audience members whom still feel, such as the guys I saw wearing “White Pride” and “Klan Brotherhood” T-shirts (emblazoned with confederate flags) at a Down show, that perhaps Anselmo and/or his bandmates don’t fall that far from the tree. After that show I shared what I observed (including one of the most violent pits I’ve seen – ever) with a former good friend. She yelled at me for attending and at the time of this writing, hasn’t spoken to me in over three years. After being body slammed at a Weedeater show by a skinhead, the thought also crossed my mind as to why certain people gravitate to certain bands. Is the ‘Southern-ness’ of the music, or simply just a coincidence?

One of the comments I’ve received to the arrival of What Are You Doing Here? in bookstores surrounds a ‘tit’ for ‘tat’ argument. Well white people listen to hip-hop, so what is the big deal? If whites were so worried about racist lyrical content that made derogatory comments or insinuations that are similar to real-life discrimination, then perhaps a book about black women involved in extreme music forms would not be as relevant as it is. In a recent article published in The New Republic about white fans of rapper Chief Keef, (an article that explored the concept of a ‘violent’ rapper who received positive album reviews from white critics) the main difference in relation to the reaction by black critics towards white Chief Keef fans and those that liked the album, is this: because it is commonly perceived that when a black or minority rapper talks about gun violence or violence of any kind, it is usually targeted towards another black person, or someone who is from the same ethno-cultural community. So for white listeners, it isn’t about them, as we (in the article it is noted that black communities are often construed as being a monolithic entity in terms of behavioral traits) are too busy killing each other to be bothered killing y’all. Fans of this violent or ‘hardcore’ rap can live vicariously through the lyrical content or take pleasure of the beats, without worrying that the violence will spill over to their neighborhoods. The positive reviews signified a glaring disconnect that the critics had in how damaging this artist’s lyrics could be within black communities.

For black folks into predominantly white and male music scenes, when musicians share their negative personal views on race, or there are self-identified racists in the audience, based on historical and contemporary examples, there is more of a physical threat that is transmitted outside of the music, and/or outside of the venue. There have been real physical assaults, real threats of violence and real discrimination that impacts both our livelihood and our lives. As with many online discussions about racism and / or misogyny in music, especially within lyrical content or rumors about band members holding racist or misogynist views, there is no easy answer in your preference to support an artist or not – ultimately the decision lies in the listener.

The interesting thing about the bands that I personally love and would love to force on my black friends, such as Soilent Green, Weedeater, Bongzilla, Buzzoven, Sourvein, Hail! Hornet (essentially any band that includes Dave “Dixie” Collins), or non-Southern-bred sludge / stoner bands like Japan’s now defunct Greenmachine, Church of Misery, Kyuss, Fu Manchu, Electric Wizard, Dozer and Unida are steeped in black-centric music, often using blues, funk and groove-oriented soul as a starting template in the development of their own unique sound and outside of the occasional avocation of the legalization of marijuana, relatively apolitical.

So is it possible that one can hate the people who had a solid hand in the creation of their own music? It’s possible, as mentioned above, people like to pick and choose when they lump black communities as a monolithic entity. So I, as a bit of a loudmouth in the anti-racism department and one who is not down for financially supporting people that don’t respect my kind, will take a chance. I’m hoping that eventually, some of my friends will, too.

36 Comments

The Technogoat

Posted January 10, 2013 at 2:31 PM

I wonder what you think of people who listen to groups like Arghoslent or any number of NSBM bands that very sincerely promote white supremacy, and justify it by throwing around terms like “oversensitive” and “politically correct”?

I too heard ‘Hornets of the Pogrom’ before I knew it was racist, enjoyed it too. let me know if you find that loophole haha.

I had a similar experience just the other day. searching through the used bin at my local record shop I picked up an album by Wotenorden. it was 3 bucks and the cover looked cool. it wasn’t until after spinning it and doing some research that i relized they were a NSBM band. the guilt set it in again =/

I really appreciate your thoughts and perspective in this piece. I don’t blame non-whites for not going to these shows, but really wish more would. As much as I love the stoner/sludge/doom whatever scenes I’ve always been turned off by the underlying tones of racism from certain bands and supporters.

As a white person my love for this and other forms of extreme music is clearly rooted within the classic rock I was raised on. While it might not be as easy for those that come from other musical backgrounds, I too think that the underlying roots in the blues lends the slower groove-laden bands to be better embraced by not only non-whites, but non-metals in general. Then again I was also fortunate to have a musician dad that was also into jazz, blues, and always encouraged me to seek out new sounds and never limit my exploration of the music world. Growing up in the South I never knew any other kids whose parents played music; especially with blacks. I would never take my dad to see Morbid Angel or Discharge, but would not think twice of inviting him to see Pallbearer, Graveyard, or even Weedeater.

While it’s valid that one wouldn’t want to support a band that’s openly opposed to their race, there are others that completely deserve whoever comes to their show. There is always the possibility of violence and I think it’s time racist assholes get called out and are removed if they make their presence known and start shit on a platform of hate. If violence is directed towards another for their race it’s up to others to confront the parties responsible and make it known their bullshit will not be tolerated. Fuck primitive notions of a master race and superiority which is nothing more than a control mechanism. And fuck those that embrace it and exhibit it through their music. I can only hope that as our world progresses we can learn from mistakes in the past.

Although my beliefs are a bit idealistic, I’ve always felt that the punk and metal communities should be havens for those that embrace it no matter what their race, orientation, or gender. My involvement with these communities was fueled by the isolation of growing up in a Southern city in which I wasn’t like the kids around me. I’m not speaking of a utopian shangri la in which our differences are ignored, just an environment of mutual respect and camaraderie through the music we love. I go to shows to see bands, friends and hopefully make new ones. I’m sure most can agree that all the other bullshit creates needless drama and is a downer for everyone.

I’m a firm believer that diversity can only enrich the experience of human life. Without connecting and understanding others all we do is lie in stagnant pools that are safe and boring. This being said I’m stoked to read your book and appreciate the time and effort you put into it. Hopefully it won’t only inform those that read it, but push them to think and maybe learn. Cheers!

I agree with your post in general, but I think you’re giving racist metal too much credit. That scene is VERY, very small… maybe 2% of all metal bands, tops. They are not some massive movement that’s about to tip the world into a race war (despite what their egos hope)

Racist metal for the most part is just bad music wise, to the point of being cartoonish with their image. That’s how they overcompensate for just being really shitty musicians, they just happen to have really sketchy backgrounds.

One thing I find odd though is that Brazil has a lot of NSBM bands. Sure, their population has a lot of German and Italian immigrants from World War II, but the fact that this scene is happening in a mostly black and brown country is quite peculiar.

This is a really good piece, and reminds me that I need to get the author’s book. Bazillion Points hasn’t let me down yet.

Metal’s insularity strikes me as both an asset and a liability. On the one hand, I imagine a lot of us first embraced metal in part because it enabled us to feel like we were a part of something bigger than ourselves, a sub-group of likeminded individuals who could get together and have some sort of meaningful shared experience centered around music most people outside of the group don’t enjoy or even “get.” On the other hand, that same tribalism has lead metalheads to exclude or be suspicious of other voices or perspectives. That’s a problem for social /political /cultural reasons, obviously, but also, I’d argue, for aesthetic reasons. Metal’s genres and subgenres have a tendency to get dogmatic and even stagnant pretty quickly, and are often badly in need of the infusion of new ideas and perspectives. And individuals who come from groups that have been historically oppressed seem like exactly the kind of people who would “get” a musical language that deals so much with resistance and frustration.

In short, metal becoming more diverse is a good thing for metal music.

I’m hoping mitsu-zero will jump back in here, but I think I get what he’s saying. The 2nd wave Norweigan scene is the best (only?) example. Other possible examples are the 78-83 NWOBHM scene, the Bay Area thrash scene, Florida and NY DM scenes, maybe the Gothenburg scene?

Nah, I know plenty of white dudes who are solid hip hop heads since the 90s, that absolutely loved Pantera for some reason, but no other metal.

I don’t know why. My best guess is that Pantera shared some sonic DNA with rap and hip hop that his barely detectable at a conscious level. Like people just ‘felt’ the relation. Never cared to dig into it to deeply as I’ve never been a Pantera fan.

picked up the book for kindle yesterday. it’s good so far, but you should have a word with whomever formatted it – the introduction repeats and it won’t display on my phone with a black background, only sepia/white.

I’d argue that the original line-up of Skynyrd wasn’t necessary as right-wing as people make it out to be. Artimus Pyle was a proud vegetarian, ‘Mr. Saturday Night Special’ was a song advocating gun control for handguns, ‘Things Goin’ On’ was about urban poverty, etc.

I grew up in the South, equally immersed in metal and hip hop—I was (and still am) also a huge Pantera fan. There is certainly a subtle similarity between hip hop and the music of bands like Pantera. I chalk it up to the shared groove, the inherent swagger, and of course, the common basis in blues music.

Another interesting correlation I’ve always noticed: a lot of Southern hip hop over the years (excepting perhaps the more soul-sample–based artists like Goodie Mob and Outkast) is the use of minor keys extensively. This first dawned on me when Lil Jon became popular. Take many, many of his synth leads, translate them to electric guitar (perhaps while tremolo picked) and you have a metal song. Same with a lot of Three 6 Mafia’s more sinister songs. It never ceases to amaze me.

Imagine Usher’s hit song “Yeah” played on a guitar with a solid blastbeat behind it—that’s black metal to my ears (no pun intended).

dang, this girl is really pushing that book. kind of a one trick pony. we get it, you’re a black metal fan. so rare, so cool. you wrote a book, awesome. but im sorry, this reads like a freshman college student term paper. weak.

Totally agree with mitsubishizero.
Some of the best metal was created by chauvinistic, ethnocentric and rather intolerant people who happen to be great artists. Their work can still be great metal because what we care about is the music and what the music stirs inside our souls. Do a lot of people care that Wagner was anti-jew and probably a racist like most white men of his day ? no, most people don’t care because Wagner’s art speaks for itself and that’s what matters.

It’s by no means obvious to me that metal will be “better” if it becomes more diverse. If there is to be “diversity”, let it be completely organic and a natural phenomenon and not the result of some forced, unnatural attempt to inject “diversity” into a metal scene whose whiteness is not a problem to be fixed, whiteness studies professors be damned.

From what i can see, metal fans in indonesia or botswana have had no problem relating to metal as it is, without crying about how metal is too white, too cisgendered, too (insert “privileged”category).

“Dimebag Darrell shortly before his death. While cautiously observing the the large flag that he had placed in the backstage area after a show, he ended up one of the nicest musicians she had interviewed, assuaging any stories that she had previously heard about him.”

It’s not unusual for ethnocentric, chauvinistic people to be quite capable of civilized behaviour towards a member of another group. Just don’t tell them that they should be ashamed of their ancestors.

I agree completely that any scene shouldn’t have forced diversity. Music isn’t a workplace in which there needs to be quota of race or it’s not valid or automatically racist. I’m speaking of a community that accepts those that come into it and wish to be apart of it. It’s a matter of respect, not being politically correct.

This is not to discredit metal’s beginnings as predominately white, male, and heterosexual. It’s a product of it’s creators in a time much different than the one we live in now. However, as this world moves forward to shed a fucked up past I think we too should move with it. Not in some blind sided PC attempt to conform (one should always question), but to go beyond trivial differences like gender, race, or orientation. Whatever your opinion on a band’s political views is up to you. Art is art and a band with fucked up views doesn’t mean the music is shitty, but I personally refuse to give any direct support to these artists. This is not to say that my record collection is spotless but it’s something I consider when it comes to bands I’m into.

Keep in mind I’m speaking of the metal community, not the music itself. Whether something is good or not is up to the consumer and they’ll go to shows and buy records according to their taste. In my opinion it’s just as biased to be into a band solely because a band has a member that’s not white, male, or heterosexual. One could also argue that the increase in sub-genres in mixing styles is a product of diversity, musically speaking. I think artists should still pay tribute to their influences while taking what’s been created to the next level.